PORTFOLIO
P O RTFO LI O
WORK 03 - 10
MUSEUM BOOKSTORE CONTEST
11 - 16
ALL-DAY DINING HOSPITALITY
17 - 22
9TH HOLE HOSPITALITY
23 - 26
ARRÓNIZ GALLERY RETAIL
27 - 32
TECHNOGYM RETAIL
33 - 36
PORTON HOSPITALITY
SCHOOL 37 - 44
R30 THESIS
45 - 48
HAITI SHELTER
49 - 52
HOUSTON IV HOUSING
53 - 56 This portfolio includes work of Gerry G. Zuniga from 2010 to 2018. It was designed with Stanley and Helvetica Neue fonts. Unless otherwise noted, all of the material on this portfolio is Copyright © 2010-2016 by Gerry G. Zuniga. All rights reserved. No part of the work section may be reproduced, published, distributed, or displayed for public use without written permission of the author.
FORCEFLOW PAVILLION
I
I ND E X
Jumex Museum’s Bookstore CONTEST
2017 Jumex Foundation
Dot, line, plane, program.
Studios:
From this compositional logic our system integrated the
Esrawe Studio
proposal for the new bookstore at the Jumex Museum, pro-
Frida Escobedo | Taller de
posal which forms part of the architecture enclosure lan-
Arquitectura
guage. In agreement with the Gestalt Law of Closure, our
Location:
system recognises and unifies spaces and complete forms
Mexico City
from simple lines and points of reference.
Duties: Project Leader
Recognizing the materials and geometrical forces of the the
Schematic Design
lobby, we proposed using the planes as surfaces that unfold
Design Development Construction Documents 3D Modeling Teammates: Héctor Esrawe
to generate an integral space, flexible, and polyvalent. These programmable surfaces move along their axes, generating multiplicity of intermediate spaces with different levels of tension and intimacy.
W ORK
Frida Escobedo Federica Lombardi Industrial Design:
0 3
-
1 0
|
Tania Fontecilla Alejandro Ramírez
The system provides the possibility of organising the bookstore in and outside of the museum’s lobby boundaries, extending the project to the main plaza, therby mantaining the flexibility that is required to provide exposition sites, events, press conferences, etc.
J UME X
I
MO D E LS
J UME X
I
P H O TO S
All-Day Dining H O S P I TA L I T Y
2014 - Present Four Seasons Studios: Esrawe Studio Taller| Mauricio Rocha
Esrawe Studio was in charge of the main restaurant for the new Four Seasons hotel at Tamarindo’s Beach, in the state of Jalisco. We were invited by the architects of the hotel to participate in the architecture of the restaurant but we were also in charge of the interior design.
+ Gabriela Carrillo Legorreta+Legorreta Location: Jalisco, Mexico Duties: Project Leader Schematic Design Design Development Construction Documents 3D Modeling Teammates:: HĂŠctor Esrawe
The new resort of the Four Seasons Hotel is located beside the beach, deep into the hitherto undeveloped Huichol jungle territory. The concept of the project was an elevated platform surrounded by water features, built on the slope of a hill that overviews the beach. The openness of the restaurant space helped in the perception that it was separated from the main hotel, transporting guests to a different place. The structural design challenge was to develop an open ceiling made of concrete slabs, to support a glass ceiling filled with a natural fabric lattice. This design protects the guests from the sun and provides an extra layer of texture made from the shadows of the lattice patterns
Mauricio Rocha Victor Legorreta Javier GarcĂa Joel Plata Industrial Design: Diana Cabada
-
Fernanada Romero Renders:
1 1
1 6
|
W ORK
Gabriella Carrillo
Arturo Hermenegildo
I was in charge of the project at its inception. First as junior architect, developing the architecture of the space until to its final phase which is being executed now. I also took part in the construction documents drawings and was in charge of the FF&E. Through this I further developed of my interior design skills, by helping design the furniture, light fixtures, and some accesories for the project.
A L L-D AY
D I NI N G
I
LAY O UT
9th Hole Restaurant H O S P I TA L I T Y
Taller | Mauricio Rocha
Esrawe Studio was in charge of the speciality restaurant for the new Four Seasons hotel at Tamarindo’s Beach, in the state of Jalisco. We were also invited by the architects of the hotel to participate in the architecture of the restaurant and the interior design. This restauran was focued in the local vernacular
+ Gabriela Carrillo
architecture of the palapa.
2014 - Present Four Seasons Studios: Esrawe Studio
Legorreta+Legorreta Location: Jalisco, Mexico Duties: Project Leader Schematic Design
The restaurant is located near the beach, that is also located besided the 9th hole of the Four Season golf course. The palapa is a classic type of construction because it is designed to let pass through the wind, being this very useful for the hot weather from the area.
Design Development 3D Modeling Teammates:
vestiges from the huichol culture, this was translated into a
Héctor Esrawe
strong rock construction that can endure the pass of a hurri-
Mauricio Rocha Victor Legorreta
cane and protect the washroom and kitchen equipment. The construction challenge was the design of the roof, because
Javier García
the design tried to break the classic form of the palapa roof.
Joel Plata
However the design needed to be similar to the original in order to obtain the cross ventilation. The structure is fixed
Iván Zúñiga
to a smokestack that is the center of the project, the fire that
Alejandro Ramírez
invites everyone to eat at this steakhouse restaurant.
Renders: Moises Carvajal
1 7
-
Industrial Design:
|
Gabriella Carrillo
2 2
W ORK
The concept behind the interior design was the architectural
9 T H
H OL E
RES TA U RA N T
I
L AY O U T, M O D E L
&
S E CTI O N
Arróniz Art Gallery R E TA I L
2017 - 2018 Arróniz Gallery
The project consisted of a new residential building attached to a house landmarked by INBA (National Institute of Fine
Studios:
Arts). JSa was in charge of the architecture of the new and old
Esrawe Studio
building and Esrawe was in charge of the interior design of
JSa Javier Sánchez Arquitectos
the gallery and it’s offices. Both were on the first floor of the
Location: Mexico City Duties: Project Leader Schematic Design
two buildings. The Contemporary Art Gallery Arróniz gallery, distinguishes from other galleries because it only works with new Mexican and Latin-American artists. By doing this, the Arróniz family supports and presents new young local Latin-American artists to the world.
Construction Documents Teammates: Héctor Esrawe
We were also in charge of the interiors of the first floor of the new residential buidling that is attached to the landmark building. Due to structurals problems of the terrain, the design and intervention of the building was very challenging, since the house was at risk of collapsing if the interior surpassed a heavy interior load. The house was a centerfor artistic reunion from 1939 and until the year 2000. Kati Horna, a Mexican-Hungarian photographer used to live here after her exile from Europe at the mid century. She didn’t moved out from the house until her dead in the year 2000. After WW2 she received many os Varo, Benjamin Péret, Emerico Chiki Weisz and Leonora Carrington. Her famous reunions had worldwide artists
|
Sulzer, Edward James and Mathias Goeritz, and Mexican art-
2 6
ists such as: Octavio Paz, Salvador Elizondo, Antonio Souza,
-
such as: Gunter Gerzso, Wolfang Paalen, Alice Rahon, Eva
Ida Rodríguez Prampolini, Angela Gurría, Inés Amor, Pedro
2 3
W ORK
refugees from Europe and artistic figures such as: Remedi-
Friedberg y Fernando García Ponce.
Technogym Showroom R E TA I L
2015 - 2016 Technogym
Technogym is a renowned fitness equipment manufacturer based in Cesena, Italy. They are world leaders in the
Studio:
fitness and wellness solution sector by helping people live
Esrawe Studio
a better life through wellness. Their business approach is
Location: Mexico City Duties: Schematic Design Design Development
to be the operator business partner thanks to a total wellness solution made of products, services and software and to provide end users with an engaging wellness experience. With these values, Technogym decided to open their first showroom at Mexico City. The building was located in one
Construction Documents
of the oldest and most important neighborhoods of the city,
Construction Supervisor
The house was an old abandoned Neo-Colonial style house,
Teammates:
built between 1910 and 1920.
Héctor Esrawe Javier García Alejandro Valencia Montserrat Martínez
The concept design was based in the company’s mission on being focused on finding high quality, innovate and engaging solutions, but at the same time rescuing the architectural heritage value of the house. One of the main challenges was that the house was protected by the National Institute
2 7
-
3 2
|
W ORK
of Fine Arts, so we had a lot of design constraints. After a successful design development, I supervised the construction untill its completion at the end of the year 2016.
T EC H N OG YM
B E F O RE
AFTE R
BE FORE
A F T ER
BEF ORE
I
A FTE R
LAY O UT
&
P HO TO S
Portón H O S P I TA L I T Y
2016 Alsea
El Portón is a Mexican food chain restaurant located in Mexico City. El Portón asked for a new change of image to Esrawe
Studio:
Studio, but I wasn’t directly related to this new image. My job
Esrawe Studio
was finding a solution for the structural system of columns
Location: Mexico City Duties: Design Development Assistant Construction Details Mockup Supervisor
and arcs that would decorate the space. The concept behind the interiors was to resemble a classical Mexican kitchen from colonial times. The restaurant also was inspired by the typical open-air atrium of churches was a direct influence for this false ceiling, creating an elaborated and beautiful wood structure.
3D Modeling
Imitating the simple design structure from colonial architec-
Héctor Esrawe
ture, the design of the column and arc was a complex work
Javier García
of engineering. However the design needed to be very cheap
María Buey
and easy to replicate, in order to build one system per restaruant. A prefabricated structure wrapped with wood was the
Moises Carvajal
solution for the aesthetics and practicality. After many tests and prototypes, the client accepted the proposal and the first restaurant ceiling is already built.
3 3
3 6
Renders:
-
|
W ORK
Teammates:
P ORT ON
I
R E ND E R
&
P R O C E S S
R30
LEED OFFICE BUILDING
2012 - 2013 Thesis Project Led by: Benjamin Romano Diego Ricalde Jorge Arvizu
This project was the result of a year of work in the Cรกtedra Blanca Studio sponsored by CEMEX in Iberoamerican University in Mexico City. The objective of the thesis was the development of a LEED office building that suited the needs of the office property market in the city. The project carried out during a hole year, working from the conceptual design to the construction development drawings.
Teammates: Juan Vazquez
3 7
-
4 4
|
S C H OOL
Omar Gonzรกles Roberto Rivera
Mexico City is facing a new era of urban development; the authorities have decided to stop the expansive growth in the peripheries of the city and now they are supporting the real estate investment in the downtown area of the city. Reforma Avenue is an example of this change, with more than 25 skyscrapers under construction. Reforma 30 (R30) is an office building that was trying to be part of this urban change, by including a shopping center in the first four levels, a 12 parking garage and 28 floors of offices.
The structural system of the tower consists of two reinforced concrete cylinders that operate differently though the whole tower. First they work as foundation, that transfers all the loads to the ground, then in the basements they support the parking ramps and finally they function as the tower cores, which contain emergency stairs, ducts for installations and bathrooms.
The boundary walls are 5 feet thick, made of reinforced concrete and steel. These load the side walls of the tower, however, due to the inclination of the walls on the south facade, the slabs are in the cantilever, crating a long span between each wall.
To solve the cantilever, the span was divided by two with a steel plate which distributed the load of the slab towards the walls by steel tensors. The inclination degree of the tensors varies depending on the floor. The structure is grouped into clusters every four levels, in order to distribute more uniformly the load along the building.
R3 0
I
S TR UC TU R A L
D E TA I LS
Haiti CONTEST
2008
cluding our school, in order to propose quick solutions for
Frida Escobedo
temporary houses. The studio focused in a quick exercise to
Francisco Pardo
proposed immediate shelter with potential growth. This de-
Carlos Bedoya
sign was selected with two other projects from our school
Teammates: Alvaro Araico
and sent to various NGOs as proposals for the recent earthquake.
Daniel Gonzalez
|
shaped metal profles, steel corrugated sheets, and sustain-
4 8
The shelter explores the possibilities of building with L ability systems (water and biogas). The initial module can
-
Jorge Succar
grow accordingly to the user needs and has a lot of desing
4 5
S C H OOL
Led by:
Haiti’s 2010 earthquake mobilized the whole world, in-
possibilities.
Houston IV HOUSING
2010 Led by: Frida Escobedo
Houston, the city of parking lots. The studio focused on the research and proposal of new residential buildings, that allowed the revival of downtown Houston.
Francisco Pardo
Teammates: Alvaro Araico
The proposal rotated a grid by 45 degrees generating: good sunlight, cross ventilation, great views, permeability and local business.
Daniel Gonzalez
ground tunnels to a sunken park; where the rising of the building begins; with complementary programs such as culinary center, restaurants, and housing.
4 9
|
The project relocates fastfood areas in the city under-
5 2
Jorge Succar
-
S C H OOL
Carlos Bedoya
Forceflow PAV I L I O N
2009 Led by: Gabriel Morales Daniel Daou Teammates: Santiago JimenĂŠz Daniel Gonzalez Mariana Hernandez
After an initial research and experimentation of the basic principle of catenaries, we proposed different materials, heterogeneous mixtures, patterns and discontinuities, casts and flows and in an effort to advance 1% the previous work of catenary systems. We started by dismissing the basic principle of the catenary and rather working with tensions on different vectors, working on a spacial installation, and producing a heterogeneous surface. We created a locally diferentiated system, displaying a material elegance with the help of analogic material computation.
5 3
-
5 6
|
S C H OOL
Product of a parametric study of architecture, we generated a spacial walkthrough within a field through the manipulation of flows through forces and patterns in order to generate free form 3D catenary structures. the structure is an aggregate of several smaller mass components fabricated by means of analogical material computation. Roughly, the patterns we used to make the spacial installation are linear, generated from a grid, drawn on a canvas 2.40m by 2.20m, and every 10 cm. The rules were basically two: the discontinuities to lighten the structure and to direct flows into the fabric and structure points made thinner and lighter, these rules were defined by the distances between the basic elements which are the stitches and points, the material flow and cast, tensions and how does gravity affected the forms we were looking for.
F OR C E F L OW
I
M OD E L S
The basic elements that determine the rules are the discontinuities are: the stiches and dots on the blanket. Together they defined the width and weight of the structure at the time of the cast, with an heterogeneous mixture made of plaster. Tensions determined how the cast would flow into the fabric. Edge conditions determined the behavior of the prototype in terms of its connectivity with other components. These edge conditions were achieved through cuts in the blankets and different type of tensions; some of the edges that we used served as “arms” and some others were used to connect with others. These would be resting on the coplanar, others because of their form. There were others that by their width at the end of the arm were used to connect similar pieces from upside down. We left behind the typical catenary system, modifying the vectors and creating a system based on tensions to get rid of the frame. Also, the rigorous patterns were used to generate rigid structures of a heterogeneous mixture. The Pavilllion’s role was to be something beyond mere wall or span, expanding spatial possibilities in a diffuse and non-deterministic way. These courses of action depended on the user who needs to be aware of what can be done, by creating a relation between space and user. The aesthetic values of the pavillion were the display of effective structural properties and it’s adaptability.